As reported here last week, the Baltimore company Iron Crow Theatre is dealing with a sexual harassment allegation, which forced cancellation of the opening of Terrence McNally’s Corpus Christi, originally scheduled for this month. In its place, the cast will do a public reading of the play April 6 to benefit The Trevor Project.
Update: the cast is holding a staged reading of the play. Cash donations accepted for the Trevor Project. Reservations strongly suggested. ——————– Baltimore’s Iron Crow Theatre has closed down its troubled production of Corpus Christi, according to an announcement signed by 13 members of its cast and released today. “We, the cast of Corpus Christi, […]
You think you’re in for a reenactment of a historical night of American theater, but then The Cradle Will Rock gets rolling and before long you’re plunged into a musical production from Iron Crow Theatre that is scarily germane and leaves you feeling rattled and exhilarated and thinking maybe you should have worn your pink […]
Who says theater is not educational? Why, just this past weekend I learned that “bootycandy” is a euphemism for the penis.
At its heart, family is less about bloodlines than choice: who do you love, and most importantly, who loves you back? That’s the crux of Iron Crow Theatre’s production of A. Rey Pamatmat’s fine piece Edith Can Shoot Things And Hit Them, now at The Theatre Project in Baltimore for a far-too-short run which ends […]
Playwright Suzan-Lori Parks is known for her outlandish imagination, creative use of language and boldly askew look at America’s past and history. Her mythic riff on Nathaniel Hawthorne’s The Scarlet Letter, cheekily titled Fucking A, is no exception.
“Queenie was a blonde and her age stood still,/And she danced twice a day in vaudeville.” With those hardboiled, magical words, Joseph Moncure March’s 1928 Jazz Age poem “The Wild Party” begins, as does Andrew Lippa’s darkly glittering musical adaptation.